Arto Tchakmakchian (Արտո Չաքմաքչյան) Canadian-Armenian sculptor and painter born in Cairo in 1933, a member of the Royal Canadian Academy of Arts. He was awarded by the Armenian Order of Honor in 2015.

Arto (Harutyun) Tchakmakchian's father was a of bookshop owner and a friend of Vahan Malezian. Arto studied at Nubarian National college in Heliopolis, then in 1946 his family repatriated to Yerevan. He began his professional studies at the age of 15 at the Art School of Panos Terlemezian. In 1962 he won first prize at the International Contemporary Ceramics Exhibition in Prague for his sculpture Reclining Figure". Won first prize for his composition "Monument to the Victims of Hiroshima in a competition organized by Moscow Peace Committee. The work was given by the USSR to the City of Hiroshima in 1964. In 1969 he was recipient of the Armenian Youth Union golden medal for his works Mother and Arno Babajanyan. These works are purchased by the State Tretiakov Gallery in Moscow. Academic Artem Alikhanian became one of the main supporters of Tchakmaktchian's art. In 1972 Joseph Brodsky while in Yerevan visited his studio. In 1984 Tchakmaktchian won First Prize in the Wilfrid Pelletier Competition in Montreal for his bust of the competition's namesake. The work is on permanent display in the entrance hall of Place des Arts in Montreal. His works have also been exhibited at notable museums internationally, notably in the Louvre Museum.

He started studying at the Escola de la Llotja in his native city at the age of 13. When he turned 21, he received a grant to study in Rome. There are records of his sculptures from early in his career but later on he became a painter almost exclusively. He joined Marià Fortuny with a group that became known for their intense realism. Their popularity grew with the taste of the bourgeoisie seeking exotic images with oriental or medieval themes. He went back to Barcelona in 1886 and in 1894 he moved to Paris. The popularity he had earned during his decade in Italy helped him open a large studio where he could create complex scenes for the upper classes.

In 1902 the Mexican Academia de San Carlos decided to replace their classical techniques with the ones of realism that were popular in Europe at the time. Antoni Fabrés was called to take the place of Santiago Rebull as head of this important institution. Although some of his students went on to develop what was later known as the Post-Revolutionary Movement in Mexican art, the faculty had a hard time adapting to his distinct style and personality. In 1907, he returned to Rome. One of his last commissions in Mexico was the decorations of a hall at the Porfirio Diaz mansion where he mainly focused on the art nouveau style.

William James Müller, English landscape and figure painter born in 1812, the best-known artist of the Bristol School.

He was the son of J. S. Müller, a Prussian from Danzig, curator of the Bristol museum. He first studied painting under James Baker Pyne. His early pictures were mostly of the scenery of Gloucestershire and Wales, and he learned much from his study of Claude, Ruysdael, and earlier landscape-painters. In 1833 he exhibited at the Royal Academy for the first time, showing Destruction of Old London Bridge-Morning. The next year he made a tour through France, Switzerland and Italy.

In 1838 he visited Athens, and travelled onwards to Alexandria and Cairo, where he spent two weeks before continuing up the Nile to Luxor, where he made drawings of the ruins and landscapes before returning to Cairo in mid-January. Shortly after his return he left Bristol and settled in London, where he exhibited regularly. His scenes of Egyptian streets and market proved especially popular. In 1840 he again visited France, where he executed a series of sketches of Renaissance architecture, twenty-five of which were lithographed and published in 1841, in a folio entitled The Age of Francis I of France.

In 1843 accompanied the government expedition to Lycia. He spent three months sketching the landscape and local people around Xanthus, Pinara and Tlos. He spent most of the rest of his life, after his return to England, working on watercolours, and a few oils, of Lycian subjects.

She was taught to draw by her father, and then on the Severn family's return to England in 1841, studied with George Richmond, who employed her to produce copies of portraits he had painted. In 1857 she received lessons from Ary Scheffer in Paris. There she painted a portrait of the Countess of Elgin which was well reviewed and led to further society commissions in Britain. She specialized in portraits of children and worked in crayon, chalk, pastel and watercolour. In the mid-1850s she supported her family with a number of commissions, traveling to the homes of wealthy patrons. Her first picture to be exhibited at the Royal Academy was The Twins in 1852, a portrait of her younger brother and sister. During this time she also painted portraits of Queen Victoria's nephew and children.

In 1861 she married the archaeologist Charles Thomas Newton, who became Keeper of Greek and Roman Antiquities at the British Museum. She made drawings of Greek sculpture for his public lectures and also designed illustrations for his History of the Discoveries at Helicarnassus, Cnidus, and Branchidae (2 vols, 1862–63) and Travels and Discoveries in the Levant (2 vols, 1865). A number of her important sketchbooks, which make up an important picture-diary of her travels in the eastern Mediterranean and contain witty caricatures of the family, are in the possession of Severn descendants.

In the 1860s she began to work in oils and exhibited a number of pictures in the Royal Academy exhibitions, most notably a self-portrait (National Portrait Gallery, London) and an Arthurian subject from Tennyson, Elaine (exh. 1863).

Heinz Warneke (Heinrich Johann Dietrich Warneke), American sculptor born in Hagen bei Leeste, a small village near Bremen, Germany, in 1895, best remembered as an animalier. His "role in the direct carving movement assured him a place in the annals of Twentieth Century American sculpture." In 1935 Heinz received the Widener Gold Medal for his sculpture Wild Boars.

He studied art at the Academy of Fine Arts in Berlin. There his teachers included Karl Blossfeldt.

During World War I, Warneke was a member of the German Monuments Commission but later moved to New York in 1923. He spent the years 1927-1932 in Paris creating a social realism, art-deco and primitivism sculptural style. When he returned to the United States, Warneke undertook multiple commissions for the Works Progress Administration.

He shared his skills with young art students by teaching sculpture at various institutions. From 1943 to 1968, Warneke taught in Washington, D.C. at the George Washington University and the Corcoran School of Art.

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